Now, let’s give recessed lettering a go. I start with a “sand- It doesn’t take much! Less is more. Remember, shadows are
stone” panel and want to add lettering that looks like it is cut or transparent in nature. **Note** I will only be using shadows,
carved into the surface. I will be using highlights and shadows without any highlights, for this particular panel. The lettering is
to do this. Once again, I must determine my light source before quite narrow. Because I am allowing the shadow to fade away,
I begin. I will be using a top left light source for this panel. 1. I there will be enough overspray to build up on the opposite side
prepare my lettering using a scrap piece of paint mask. I will of the lettering (from my light source) to create the definition
be using the negative image this time. In other words, I will cut needed for the illusion. Because the shadows opposite the light
out and remove the letters, leaving the empty space where source are so much lighter in color, they will actually act as a
they were. This is the area I will be painting. 2. I begin adding highlight. 3. I carefully remove my masking. You can see how
my shadows. This is extremely important to get right. When effective the shadows are in this illusion. It is absolutely key
done correctly, it is an amazing illusion. My light source is from to have the shadows transition from deep and dark to barely
the top/left. My lettering is cut into the surface; I must think there. This fade pulls the illusion off. I add some cracks to help
what is going to be the darkest part of my shadow. The areas spice things up a bit. Notice as you look at the illusion, all the
closest to my light source (right under the raised surface) will shadows and highlights make sense to our lightsource. With-
block the most light, therefore will be the darkest part of my out proper placement and fading, the illusion woulnd’t work as
shadows. I add the darkest shadow there, and let fade away. well, if not fail completely.
Now, let’s literally combine what we’ve learned in raised and raised lettering. **Note** You notice that I highlighted the
recessed lettering. 1. I apply a computer cut vinyl stencil to a top line, but did not highlight the bottom line of lettering. This
red panel. When you look at the vinyl lettering, you will notice is because of the shadow that the top line will cast. Let me
two distinct parts. There is an outline around the actual letters ask you this, when was the last time you saw a shiny piece of
themselves. The parts that are masked off with the vinyl will metal in the middle of a shadow? With all the shadows from
appear to be a raised surface. The letters that were “weeded” the top line, highlighting the bottom line would look out of place.
out will appear to be recessed. 2. I determine my light source Don’t worry. Just like in the recessed lettering, we are going
(top left) and begin applying highlights around the outside edg- to let the shadows fade away to actually create our highlights
es (according to our light source). This is just like we did in for us.
Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32